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"content": "\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=H-XxMAoaiLM&list=PLDGuz5lFaZAAUWMT3zYMTcoMr6WQcFMMR&index=2\u003c/p>\n\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=it-1CE3aDjA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=0AkeAoHigis\u003c/p>\n\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n[vimeo 12886475 w=500 h=331]\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=XflfiylNNXY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. 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"excerpt": "Oliver Wang's new book 'Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area' chronicles a community of hip-hop innovation that would go on to spawn these five essential tracks.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10777796\" class=\"wp-caption alignright\" style=\"max-width: 256px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Legions.jpg\" alt=\"'Legions of Boom,' Oliver Wang.\" width=\"256\" height=\"346\" class=\"size-full wp-image-10777796\">\u003cfigcaption class=\"wp-caption-text\">‘Legions of Boom,’ Oliver Wang.\u003c/figcaption>\u003c/figure>\n\u003cp>For any hip-hop fan in the Bay Area, Oliver Wang’s new book \u003ca href=\"http://legionsofboom.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Legions of Boom: Filipino American Mobile DJ Crews in the Bay Area\u003c/em>\u003c/a> is an essential history. Chronicling the scenes in Oakland, San Jose, San Francisco and (especially) Daly City in the ’80s and ’90s, Wang paints a fascinating portrait of a tight-knit community—the Filipino DJs who threw parties in community centers, garages, schools and church halls around the Bay Area, playing freestyle, disco, Top 40 and hip-hop for friends and family.\u003c/p>\n\u003cp>From this organic soil grew a revolution in hip-hop DJing, as covered in the award-winning documentary \u003ca href=\"https://www.youtube.com/watch?v=YEKRAn-ZleM\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scratch\u003c/em>\u003c/a>. The alumni of the Filipino Mobile DJ scene built upon the basics of mixing records to create a new practice that would come to be called turntablism; in short, they began treating the turntable as an instrument, and using rapid cuts and scratches as building blocks for a new form of composition.\u003c/p>\n\u003cp>Wang’s thorough book—which explores race and family as much as music—ends roughly on the cusp of this new genre’s birth. Therefore, to bridge the two scenes, here are the Top 5 tracks to have emerged from the innovations in the Bay Area’s Filipino Mobile DJ community.\u003c/p>\n\u003ch2>5. Shortkut & Cut Chemist – ‘Live at the Future Primitive Sound Session’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H-XxMAoaiLM'\n title='//www.youtube.com/embed/H-XxMAoaiLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recorded in 1997 at Mark Herlihy’s \u003ca href=\"http://www.sfbg.com/39/05/cover_goldies_future_primitive_sound.html\" target=\"_blank\" rel=\"noopener noreferrer\">Future Primitive Sound Session\u003c/a>, this live recording kicked off a series of highly regarded mixes from the likes of Z-Trip, DJ Shadow and others. Promoter Herlihy, half-Filipino himself, made a conscious decision to give the limelight to scratch DJs, and for his first pairing threw Jurassic 5’s Cut Chemist and the Bay Area’s Shortkut together on stage in a live, unrehearsed improvisation. The result? A meeting of the minds that found the two DJs trading “solos” like jazz musicians over beats by the likes of Afrika Bambaata, Eric B. & Rakim, and an ever-changing array of spoken-word oddities. (\u003ca href=\"https://www.youtube.com/watch?v=yIrqwj5vhpg&list=PL8dW5cAgqNohjYN_WocrFJwhh5YNZKotl\" target=\"_blank\" rel=\"noopener noreferrer\">Hear the whole thing here\u003c/a>.)\u003c/p>\n\u003ch2>4. D-Styles – “Felonious Funk”\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/it-1CE3aDjA'\n title='//www.youtube.com/embed/it-1CE3aDjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The debut album from D-Styles, a Filipino DJ aligned both with the Bay Area’s own Invisibl Skratch Piklz and Los Angeles’ Beat Junkies, is a horror-movie soundtrack for the year 2025. \u003cem>Phantazmagorea\u003c/em> burbles with dark beats, chilling atmosphere and disturbing samples; it’s also credited as the first album to be created entirely from scratch, literally, in that every drum, bassline and vocal is scratched. It’s hard to pick a representative track from the album, but “Felonious Funk” features Melo-D and Filipino guests Babu and Qbert, and as the liner notes put it, “is a posse track in the vein of A Tribe Called Quest’s ‘Scenario’ and a tribute to Thelonious Monk, all at the same time.”\u003c/p>\n\u003ch2>3. Invisibl Skratch Piklz – ‘The Main Event’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0AkeAoHigis'\n title='//www.youtube.com/embed/0AkeAoHigis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2000, a conference called Skratchcon overtook San Francisco, culminating in a \u003ca href=\"http://www.discogs.com/Various-Thud-Rumble-The-Main-Event-5-Unforgettable-Knockout-Rounds/release/3648512\" target=\"_blank\" rel=\"noopener noreferrer\">show at the Fillmore\u003c/a> that featured J-Rocc, Cut Chemist and DJ Shadow with Steinski (\u003ca href=\"https://www.youtube.com/watch?v=tdzqZBnIQ2Y\" target=\"_blank\" rel=\"noopener noreferrer\">re-creating Double Dee & Steinski’s “Lessons”\u003c/a>) and DJ Radar (who would eventually release \u003ca href=\"http://www.discogs.com/Radar-Antimatter/release/1140912\" target=\"_blank\" rel=\"noopener noreferrer\">the first turntablism 12″ to come with accompanying sheet music\u003c/a>). But the highlight of the night was the last performance of the original Invisibl Skratch Piklz together, and the climax of their set was the final four minutes, when the tempo rose, the skill level took off, and, starting at 3:15 in the clip above, all three DJs created a highly syncopated unison rhythm in a stunning display of psychic intuition.\u003c/p>\n\u003ch2>2. DJ Qbert – “Inner Space Dental Commander”\u003c/h2>\n\u003caside class=\"aligncenter noborder\">\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>Before YouTube, Netflix, and even before the prominence of DVDs, \u003cem>Wave Twisters\u003c/em> was \u003cem>the\u003c/em> VHS tape to own. An animated feature set to the album of the same name by DJ Qbert, the film is at turns psychedelic, hilarious, terrifying, and crude—and above all, wildly creative. Called “\u003cem>The Wall\u003c/em> for the hip-hop generation,” it stunned those who’d bought Qbert’s album \u003cem>Wave Twisters\u003c/em>, released a year prior, by syncing nearly every scratched sound on the soundtrack to bizarre visuals. Though “\u003ca href=\"https://www.youtube.com/watch?v=k86vxkbbi7I\" target=\"_blank\" rel=\"noopener noreferrer\">Redworm\u003c/a>” might be the musical standout on the album, there’s no getting over the nightmares inspired by this opening track and its dental-school-gone-wrong segment in the film.\u003c/p>\n\u003ch2>1. Mix Master Mike with the Beastie Boys – “Three MCs and One DJ” (Video Mix)\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XflfiylNNXY'\n title='//www.youtube.com/embed/XflfiylNNXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Skip to 1:45 in the video above to watch the pinnacle of Daly City on a global stage. Mix Master Mike had joined the Beastie Boys for their 1999 album \u003cem>Hello Nasty\u003c/em> and accompanying tour, and his dizzying skills are featured prominently in this one-continuous-shot video. Rather than use the beat from the album version, Mix Master Mike here cuts a single record with deft precision, isolating the bass drum and snare in a back-and-forth pattern, and throws in scratch interludes and horn stabs to break up the action—right on the downbeat. The fact that he does it all without headphones still makes DJs’ heads spin, and because it’s with the Beastie Boys, it’s a performance that’ll live forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dream But Don't Sleep: Remembering Mike 'Dream' Francisco",
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"headTitle": "Dream But Don’t Sleep: Remembering Mike ‘Dream’ Francisco | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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